CAP Week 4 – Spinelli Carlton Sykes and Anthony Pino
“Electric Line: The Poetics of Digital Audio Editing”(’06 /’09) - Martin Spinelli
Linearity is anachronistic in contemporary literature and criticism
It is still a part of the presentation of poetry in radio programs and webcasts
The link between radio semantics and traditional radio editing technology is responsible for the focus on “flow,” “continuity,” “narrative,” and “linear”
Quarter-inch electromagnetic tape editing
Sounded literature does not have to remain bound by the constrictive analog semantics/poetics
Attempting changes away from analog semantics/poetics may lead to the charge of technodeterminism
Several key historical moments in theorization and practice of sounded literature reveals other ways this might have turned out
Citing the work of writer William S. Burroughs, an experimenter with analog sound technology in the 20th century, builds argument that the imaginative potential of poetry and criticism out-paced available technology (reel-t-reel tape)
Draws from Burroughs, contemporary practitioners, and personal literary broadcasting work
Proposes a vocabulary and open-ended taxonomy to develop and evaluate a poetics of digital audio editing
References the work of Adalaide Morris who expressed that the “aural’ dimension of sounded poetry requires its own critical vocabulary
Morris’ approach requires focusing attention to the space between audio text and a response to it
Spinelli contends that the situation is improving; that sounded poetry should not continue to reproduce modes of presentation familiar to radio tradition and related technology
In 15 years since publication of article computer-based audio editor replaced quarter-inch reel-to-reel
Criticism, radio semantics, form and shape of radio language lag behind
Conceptual changes are not there
In a new conceptual model technodeterminism and technofetishism must be avoided
technodeterminism happens when there is little engagement because everything seems possible through technology
Technofetishism does not allow practitioners to get beyond fascination with what the computer can do
Poetics of digital audio editing should focus on the “relationships that accrue around meaning rather than the gee-whiz pyrotechnics.”
New model should recognize not only new possibilities between language and technology, but should also “develop, expand and articulate the parameters of that exchange.”
Radio production theory is marked by anachronistic linearity
The work of Andrew Crisell underscores this problem
Crisell taxonomy of signs places radio production under 3 rubrics; iconic, indexical and symbolic
Crisell interprets radio in terms of continuity and flow, predisposed to privilege discursivity and narrative
They (words) are both symbols of the things they represent and indices of the person speaking; they provide direct access to the object that produces sound
Spinelli offers that words and all signs on radio are indices of radio technology; that plenty of radio is possible that does not depend on a person or musical instrument
Spinelli argues Crisell’s theories can’t address the complexities of radio broadcast potential introduced by digital technologies
Crisell’s analog sensibility does not consider the relationship between semantic play and the audience’s relationship to radio as an institution
(War of the World broadcast would be beyond Crisell’ theoretical comprehension)
Today digital tools are used not to experiment, but to replicate old forms
Reason for this is that digital technology was designed to address the analog concern of fidelity to an original
This focus fetishizes the “real”
Differences between analog tape editing and digital audio editing
Analog -audio recorded on tape -tape machine edits linear continuum of sound -razor blade used to cut out undesired sound -seamless, inaudible edit -direct speech carved out of jumble (David Antin-like talk) -tendency toward linearity - draws language into its temporal flow
Digital -no single line of sound from which undesired sounds are cut -technique of addition, not subtraction -numerous tracks allow easy and simultaneous addition of sound to multiple tracks -pieces of sound can be cut and layered in overlapping positions -visuals of waveforms make complex mixing simple -diffuses language; invites spatial interpretation and appreciation
Analog Semantics -poetry played a crucial role in the development -from first experiments, poetic cadences and forms helped language cross resistant technologies -Edison’s first recording (“Mary Had a Little Lamb”) -presupposes familiarity as a condition of communication
Digital Audio Poetics -renegotiates the condition of familiarity rather rejects it -familiarity with language forms is necessary for success -editing works best when expectations for language form are strong -“is a parasite attached to established semantics: it…processes a system of meaning rather than just the sound of recorded speech.”
The technologization of the spoken poetry is described as the third phase of Western sound poetry
Marked a move “from expressivist voice experiments…to a more specialized use of a then relatively new recording technology”
Examples of transitional pieces are discussed; the work of Henri Chopin and William Burroughs
Chopin’s audio poems move from voice manipulation ”into a poetics of audio editing that completely removes speech from a linear framework”
“At the moment when ‘cutting’ comes to be heard as a compositional practice … it is possible to begin describing a digital poetics.”
Webcast poetry might allow elaboration of a digital aesthetic, but was disappointing as they generally followed the framework of radio predecessors
Contemporary development of digital semantics for the spoken word began with John Oswald
Used early sampler technology
“plunderphonics,” a genre w/o analog pedigree
Work of Scanner and DJ Spooky build upon these developments
Erik Belgum added “ambient writing;” a genre of speech recording
Article identifies what a taxonomy for radio speech editing should look like:
*recognizes the characteristics of digital technology *respects listener’s ability to respond to “variegated interpretive strategies” * ”expands… engagement with the relationship at the core of radio
Spinelli defines several editing techniques: (114) -the breathless edit -the weave edit -the very slow fade to silence -the cross-fade -the repeat cut
Additional editing techniques “might be gleaned from…television, early film and other media….”
Techniques should be deployed sparingly
Discussion Questions: (1) Has Spinelli underestimated the need for lineary radio technology? (2) Are there examples of unsuccessful uses of nonlinear digitized technology? (3) Spinelli's "Electric Line" is a metaphor for the linearity that plagues the evolution of theory related to radio production technology? In what ways should future theory depart from this linearity?
Carlton Sykes and Anthony Pino
“Electric Line: The Poetics of Digital Audio Editing”(’06 /’09)
- Martin Spinelli
- Linearity is anachronistic in contemporary literature and criticism
- It is still a part of the presentation of poetry in radio programs and webcasts
- The link between radio semantics and traditional radio editing technology is responsible for the focus on “flow,” “continuity,” “narrative,” and “linear”
- Quarter-inch electromagnetic tape editing
- Sounded literature does not have to remain bound by the constrictive analog semantics/poetics
- Attempting changes away from analog semantics/poetics may lead to the charge of technodeterminism
- Several key historical moments in theorization and practice of sounded literature reveals other ways this might have turned out
- Citing the work of writer William S. Burroughs, an experimenter with analog sound technology in the 20th century, builds argument that the imaginative potential of poetry and criticism out-paced available technology (reel-t-reel tape)
- Draws from Burroughs, contemporary practitioners, and personal literary broadcasting work
- Proposes a vocabulary and open-ended taxonomy to develop and evaluate a poetics of digital audio editing
- References the work of Adalaide Morris who expressed that the “aural’ dimension of sounded poetry requires its own critical vocabulary
- Morris’ approach requires focusing attention to the space between audio text and a response to it
- Spinelli contends that the situation is improving; that sounded poetry should not continue to reproduce modes of presentation familiar to radio tradition and related technology
- In 15 years since publication of article computer-based audio editor replaced quarter-inch reel-to-reel
- Criticism, radio semantics, form and shape of radio language lag behind
- Conceptual changes are not there
- In a new conceptual model technodeterminism and technofetishism must be avoided
- technodeterminism happens when there is little engagement because everything seems possible through technology
- Technofetishism does not allow practitioners to get beyond fascination with what the computer can do
- Poetics of digital audio editing should focus on the “relationships that accrue around meaning rather than the gee-whiz pyrotechnics.”
- New model should recognize not only new possibilities between language and technology, but should also “develop, expand and articulate the parameters of that exchange.”
- Radio production theory is marked by anachronistic linearity
- The work of Andrew Crisell underscores this problem
- Crisell taxonomy of signs places radio production under 3 rubrics; iconic, indexical and symbolic
- Crisell interprets radio in terms of continuity and flow, predisposed to privilege discursivity and narrative
- They (words) are both symbols of the things they represent and indices of the person speaking; they provide direct access to the object that produces sound
- Spinelli offers that words and all signs on radio are indices of radio technology; that plenty of radio is possible that does not depend on a person or musical instrument
- Spinelli argues Crisell’s theories can’t address the complexities of radio broadcast potential introduced by digital technologies
- Crisell’s analog sensibility does not consider the relationship between semantic play and the audience’s relationship to radio as an institution
(War of the World broadcast would be beyond Crisell’ theoretical comprehension)Differences between analog tape editing and digital audio editing
Analog
-audio recorded on tape
-tape machine edits linear continuum of sound
-razor blade used to cut out undesired sound
-seamless, inaudible edit
-direct speech carved out of jumble (David Antin-like talk)
-tendency toward linearity
- draws language into its temporal flow
Digital
-no single line of sound from which undesired sounds are cut
-technique of addition, not subtraction
-numerous tracks allow easy and simultaneous addition of sound to multiple tracks
-pieces of sound can be cut and layered in overlapping positions
-visuals of waveforms make complex mixing simple
-diffuses language; invites spatial interpretation and appreciation
Analog Semantics
-poetry played a crucial role in the development
-from first experiments, poetic cadences and forms helped language cross resistant technologies
-Edison’s first recording (“Mary Had a Little Lamb”)
-presupposes familiarity as a condition of communication
Digital Audio Poetics
-renegotiates the condition of familiarity rather rejects it
-familiarity with language forms is necessary for success
-editing works best when expectations for language form are strong
-“is a parasite attached to established semantics: it…processes a system of meaning rather than just the sound of recorded speech.”
- The technologization of the spoken poetry is described as the third phase of Western sound poetry
- Marked a move “from expressivist voice experiments…to a more specialized use of a then relatively new recording technology”
- Examples of transitional pieces are discussed; the work of Henri Chopin and William Burroughs
- Chopin’s audio poems move from voice manipulation ”into a poetics of audio editing that completely removes speech from a linear framework”
- “At the moment when ‘cutting’ comes to be heard as a compositional practice … it is possible to begin describing a digital poetics.”
- Webcast poetry might allow elaboration of a digital aesthetic, but was disappointing as they generally followed the framework of radio predecessors
- Contemporary development of digital semantics for the spoken word began with John Oswald
- Used early sampler technology
- “plunderphonics,” a genre w/o analog pedigree
- Work of Scanner and DJ Spooky build upon these developments
- Erik Belgum added “ambient writing;” a genre of speech recording
- Article identifies what a taxonomy for radio speech editing should look like:
*recognizes the characteristics of digital technology*respects listener’s ability to respond to “variegated interpretive strategies”
* ”expands… engagement with the relationship at the core of radio
Spinelli defines several editing techniques: (114)
-the breathless edit
-the weave edit
-the very slow fade to silence
-the cross-fade
-the repeat cut
- Additional editing techniques “might be gleaned from…television, early film and other media….”
- Techniques should be deployed sparingly
Discussion Questions:(1) Has Spinelli underestimated the need for lineary radio technology?
(2) Are there examples of unsuccessful uses of nonlinear digitized technology?
(3) Spinelli's "Electric Line" is a metaphor for the linearity that plagues the evolution of theory related to
radio production technology? In what ways should future theory depart from this linearity?